Introducing: Dante and the Divine Comedy

The Italian poet Dante Alighieri is most renowned for his magnum opus, The Divine Comedy. This epic poem is widely regarded as one of the greatest literary achievements in history. But what elevates it to the status of a masterpiece?

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The journey of The Divine Comedy begins with Dante lost in a dark wood, where he is met by the Roman poet Virgil. Virgil informs Dante that to escape the terrifying forest, he must embark on a profound journey. Dante’s path takes him through the circles of Hell, up the mountain of Purgatory, and ultimately to Paradise, where he beholds a vision of God.

The Imagery 

Dante’s vibrant and detailed imagery, especially his depiction of Hell, is both violent and dramatic. His descriptions of the torments inflicted upon the damned have captivated readers for centuries. While some of the punishments were inspired by existing ideas, Dante’s genius lies in the way he tailors each punishment to fit the crime. Take, for instance, the 13th-century Italian nobleman Ugolino della Gherardesca.

Ugolino was accused of treason and later betrayed by an archbishop who imprisoned him and his family, leaving them to starve. Legend has it that Ugolino, driven by desperation, consumed the remains of his family. In Dante’s Hell, Ugolino is found gnawing on the archbishop’s skull, a gruesome punishment reflecting the sins of both men.

Another vivid encounter in the poem is with Francesca da Rimini, the daughter of the Lord of Ravenna. Forced into a political marriage with an older man, Francesca fell in love with her husband’s younger brother. Upon discovering the affair, her husband killed them both. In the afterlife, Francesca is condemned to the circle of Lust, where she is eternally tossed about by a whirlwind, symbolizing her uncontrollable passion.

Dante also drew from existing imagery, enhancing it to create a more believable representation. For example, the image of Lucifer, depicted in the mosaics of Florence's baptistery as a three-headed monster devouring sinners, closely resembles Dante's depiction in The Divine Comedy. In the poem, Lucifer is frozen in ice, consuming three sinners with his three grotesque faces.

Realism in The Divine Comedy

Dante infused his poem with realism, blending fiction with elements of his own world. By describing well-known figures, their stories, and familiar cities, he made his narrative more relatable and powerful. His political motives are evident throughout the poem, particularly in his portrayal of Pope Boniface VIII. Dante places Pope Nicholas III, condemned for simony, upside down in a tomb with flames licking his feet. Nicholas mistakenly believes he is addressing Boniface, whom Dante condemns to Hell in his work.

During his exile, Dante traveled through many Tuscan cities, describing them in his poem. Florence, his beloved yet estranged city, receives special attention. In the 26th canto of Inferno, Dante’s frustration is palpable: “Florence, rejoice so greatly art thou famed, o’er sea and land thy beating wings resound and even throughout hell thou art proclaimed.”

Dante’s connections extended to friends like the artist Giotto, who was said to have painted Dante’s portrait on a wall in Florence’s Bargello museum. Both Giotto and Cimabue, another renowned 14th-century artist, are mentioned in The Divine Comedy: “Once Cimabue thought to hold the field. As a painter, Giotto now is all the rage, dimming the lustre of the others fame.” For Dante, the ability to reunite with lost friends through his poetry likely resonated deeply with his audience.

Writing in Italian, Not Latin

Dante is often hailed as the father of the Italian language because he chose to write in vernacular Italian rather than Latin.

This decision made his work more accessible to a broader audience. His love for the Italian language was profound, stemming from his belief that it was integral to his very existence.

Structure and Rhyme Scheme 

The structure of The Divine Comedy is as impressive as its content. The poem is written in terza rima, a rhyme scheme of interlocking tercets. For example:

Godi, Fiorenza, poi che se’ sì grande,    (a) 

che per mare e per terra batti l’ali,          (b) 

e per lo ’nferno tuo nome si spande!       (a) 

Tra li ladron trovai cinque cotali               (b) 

tuoi cittadini onde mi ven vergogna,       (c) 

e tu in grande orranza non ne sali.          (b) 

Ma se presso al mattin del ver si sogna, (c) 

tu sentirai di qua da picciol tempo           (d) 

di quel che Prato, non ch’altri, t’agogna. (c) 

(Inferno, Canto XXVI)

This rhyme scheme, ABA BCB CDC, adds a musical quality and structural complexity to the poem.

The Map of Hell by Sandro Botticelli

Christian Symbolism 

The Divine Comedy is rich in Christian symbolism, serving as an allegory of damnation, repentance, and salvation. The poem is meticulously structured around significant numbers in Christian theology, such as 3, 7, and 11.

For example, the poem is composed of three parts—Hell, Purgatory, and Paradise—each containing 33 cantos (except for Inferno, which has an introductory canto, making 34). The use of these numbers reflects deep theological meaning, aligning the structure of the poem with the divine order.

Throughout his journey, Dante is accompanied by three guides: the Roman poet Virgil, Beatrice, and St. Bernard. These symbolic numbers and references are woven throughout the poem, reinforcing its Christian themes.

Giovanni Boccaccio 

Giovanni Boccaccio, a fellow writer and poet, was so moved by Dante’s work that he wrote his biography and honoured him by becoming the first public lecturer on The Divine Comedy at the age of 60. It was Boccaccio who added the word “Divine” to the poem’s title, solidifying its reputation as a masterpiece.

Although Dante’s work faced opposition from families, political rivals, and the Church, the citizens of Florence petitioned in 1373 for a year of daily public lectures on The Divine Comedy, ensuring its place in literary history.